An Italian-American family move into a house built on an ancient Indian burial ground. The oldest son is possessed by an evil spirit, and is forced to murder his family. The family's priest feels responsible, and tries to save the possessed boy's soul.
The quiet village of Amityville, NY took the country by gruesome surprise on November 13, 1974, when police discovered six members of the DeFeo family shot dead in their suburban home. Ronald, the eldest son, was found guilty of the murders. But when a new family moves into the DeFeo's Amityville home, reports of demonic possession and poltergeist activity grab international attention. Through eyewitness accounts and archival footage, we explore the facts behind the Amityville case and reveal new evidence, which suggests a hoax could be behind the horror.
Conversing with Artie Shaw – as Loren Schoenberg and I did in preparation for annotating these further treasures from his last recordings – is an exhilarating experience. This is because this master of the clarinet excels at making connections. Just as he always knew how to get from one note the next in such a way that the result was a cohesive statement – a story, as jazz musicians used to put it – he knows how to link one idea to another, to make allusions, to place things in context, within a frame of reference that ranges wide and far. Artie Shaw always told a story when he played, and he had that sound – immediately, unmistakably identifiable as his and his alone. It is a treat to hear him tell us some timeless stories we hadn’t heard before. Dan Morgenstern.
Two years after the first installment comes Buck 'Em!: The Music of Buck Owens, Vol. 2, a double-disc set chronicling the eight years when Buck Owens was a crossover superstar thanks to his prominent role as a co-host of Hee Haw. Buck started to slide into a rut toward the end of this run – a process accelerated by the tragic death of his right-hand man Don Rich in 1974, a loss from which Owens never fully recovered – but producer Patrick Milligan slyly disguises this trend by nestling deep cuts, live tracks, and outtakes among the best of his hits, thereby painting a portrait of Buck Owens as a musician nearly as adventurous as he was during the purple patch of the '50s and early '60s.
Since she won the seventh International Frederick Chopin Piano Competition in 1965 at the age of 24, this Argentine concert pianist has mostly avoided the limelight; she remains, however, one of the greatest interpreters of classical music.